Mr. Scatter at home on the road

Mr. Scatter's home away from home?

By Bob Hicks

Once again Mr. Scatter has scarpered off to the rainy northlands, abandoning hearth and home and leaving Mrs. Scatter to the unruly task of caring for the Large Smelly Boys. (Two words, Mrs. Scatter: fumigation service.)

The wide world is cold and scary, and yet sometimes one can find one’s self at home in the most surprising of places. For instance, Mr. Scatter and his Crumpled Toyota galumphed unexpectedly into the roadside attraction shown above – Scatter Creek Safety Rest Area – and felt not just refreshed, but also downright welcomed. It was like finding a lost branch of the family and settling in for a neat bourbon and a friendly getting-to-know-you chat. Mr. Scatter assumes that Scatter Creek itself lies somewhere in the immediate vicinity, but he’s not entirely sure: the whole place was so drenched with downpour, it was all creek to him.

Perversely desired liquid, now R.I.P.This particular wayside shelter is a few miles south of Tumwater, Washington, a town known in Mr. Scatter’s youth as home to a strictly prohibited and thus perversely desired pale yellow liquid known as Olympia Beer — or more familiarly, Oly, which sounded like a misspelled Norwegian lumberjack. (That was not an entire unlikelihood in this neck of the woods.)

Tumwater was many, many miles ago. Mr. Scatter and the Crumpled Toyota have surged ever forward into the dark wet north, on beyond Chuckanut and the wrinkled geoduck and a four-flush of sad-eyed, brightly blinking casino signs. Mr. Scatter has dressed in his plaid flannel shirt and flannel-lined jeans in hopes of blending in with the wildlife, some of which also are sheathed in sleek and brightly colored water-wicking outer skins with the word “REI” or “Patagonia” tattooed on their breasts. It is a rugged and exotic environment, broken up occasionally by tiny pioneer settlements with names like “Bug” and “Jam.” *

therockyandbullwinkleshow1Mr. Scatter is a coffee man, not a tea man, and so if he happens to come across a moose in his northern wanderings, he will not shoot. Instead he’ll pause to pass the time of day and enquire politely after the health of his old friend, Rocky. Even in the wilderness, one should be civilized. Are you listening, Large Smelly Boys?

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* This is an actual fact. The town of Sedro-Woolley, Washington, was originally known as Bug. The town of Ferndale, Washington, was originally called Jam. Not all change is progress.

Tracy Letts, the ‘Superior’ actors’ writer

Bill Geisslinger and Vin Shambry in "Superior Donuts" at Artists Rep. Photo: Owen Carey.

By Bob Hicks

When you see the killer-good performances in Artists Repertory Theatre‘s current hit Superior Donuts, remember this: Tracy Letts is an actor. And when actors write plays, they write them with actors in mind.

Letts, the Steppenwolf Theatre stalwart who won the Tony Award and Pulitzer Prize for his 2008 family drama August: Osage County, has a long history with Artists Rep, which has also produced his plays Bug and Killer Joe and commissioned his adaptation of Chekhov’s Three Sisters. In each case, viewers argued about the literary quality of the scripts, but most everyone agreed they made for terrific performances.

Which brings up an interesting point: If a script creates juicy roles, doesn’t that mean it’s a good script? If it gives actors the opportunity to do the things actors do best, is that somehow different from literary quality? Or is performance its own thing?

Continue reading Tracy Letts, the ‘Superior’ actors’ writer

Reviewing the review: a Moliere muddle

By Bob Hicks

And so it came to pass that on the first night, Mr. Scatter went to the opening of Moliere‘s comedy The Imaginary Invalid at Portland Center Stage.

Nicolas Mignard, "Portrait of Molière as Julius Ceasar," 1658. Musée Carnavalet, Paris. Wikimedia Commons.And on the second morning he got up, made coffee, and wrote his review, which was subsequently published (the review, not the coffee) in The Oregonian. And the review praised some and quibbled some, and was not, in the terminology of the great god Variety, boffo.

And lo, the director, Chris Coleman, took issue (firmly but very politely) in an email message to the reviewer. And Mr. Coleman made some worthy points.

And on the next day Mr. Scatter replied. And Mr. Coleman replied in return, “Mind if I run this exchange on my blog?” And Mr. Scatter said, “Good idea.” For indeed, it was.

So here you have it: three parts of an exchange that is really about the way we look at theater, and think about it, and write about it (about classic theater in particular), and about the different approaches that the people who make theater and the people who analyze it take to that process. Plus, as a bonus, some thoughts about what a reviewer should do when he senses that pretty much everyone else in the audience disagrees with him.

Chris has gathered the three parts together on his PCS blog, under the title Is My Review Your Review? To get you in the mood to wade into the fray, I’ve included a pertinent teaser from each of the three parts. Comment here, or on Chris’s blog, or preferably on both (that’s what the copy-block function’s for):

  • The original review, which ran in Monday editions of the paper and online here at Oregon Live: “(F)or all its surface frivolity, something’s missing from Center Stage’s ‘Invalid’ — the sense that what’s happening inside Argan’s anarchic household is connected to the larger culture outside its doors.”
  • Chris Coleman’s response: “… I have, of late, found myself impatient with reviewers (the world over) bringing so much of their own ‘expectations’ to a production of a classic, and judging its merits based on what they walked in hoping to see.”
  • My response to Chris’s response: “With any adaptation, a pertinent question to ask is whether it is faithful to the original. That’s not necessarily a question of traditionalist versus radical …”

Already our old sidekick Barry Johnson of Arts Dispatch, who put in considerable time in the theater critic’s chair at the Big O, has chipped in with some intriguing thoughts at Coleman’s blog. Give ‘er a look.

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Nicolas Mignard, “Portrait of Molière as Julius Ceasar,” 1658. Musée Carnavalet, Paris. Wikimedia Commons.

O bleak ‘Black Swan,’ flying from reality

When Hollywood decides to depict a specific trade, dramatic license usually trumps veracity. Think all those cop movies truly depict an average day in the life and thinking of a policeman? How about the hilarious world of newspaper hacks in the likes of The Front Page? Black Swan, the new horror film with a ballet backdrop, is no exception. Art Scatter senior correspondent Martha Ullman West argues that if you think this is what the ballet world is really like … well, she can get you a very good deal on a bridge in Brooklyn.

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By Martha Ullman West

black-swan-movie-poster1Black Swan is not a film about ballet.

Oh sure, there are a few shots of point shoes, not to mention bleeding toes, company class, unconvincing rehearsals of small bits of Swan Lake, and Natalie Portman, who richly deserves for her acting (but not her dancing) the Golden Globe award she picked up Sunday night. She spent two years taking ballet classes, and lost a lot of weight for her role.

But here’s the rub. Classical ballet, and director Darren Aronofsky‘s profoundly Puritanical view of the art form, provide the mere framework for a film about a deeply troubled young woman whose cries for help are unheard, or denied, by a mother who thinks only of herself and an employer who seems only to think about sex.

Continue reading O bleak ‘Black Swan,’ flying from reality

Link: suddenly, it’s Moliere time in PDX

David Margulies as the hypochondriac Argan and Sharonlee McLean as the sassy and practical servant Toinette in "The Imaginary Invalid." Photo: Owen Carey/Portland Center Stage.

By Bob Hicks

Mr. Scatter spent his Friday and Saturday nights at the theater — first at Portland Center Stage, for the opening of its version of Moliere‘s The Imaginary Invalid; then at the little Shoebox Theater, where Twilight Repertory Theatre had just opened its own version of The Doctor Despite Himself. Two utterly different productions, on vastly differing scales, with one link beyond Jean-Baptiste Poquelin (Moliere’s given name) himself: the medical profession gets the bum’s rush.

Mr. Scatter reviewed the two shows in this morning’s editions of The Oregonian. Read it on the How We Live cover, or online here at Oregon Live.

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David Margulies as the hypochondriac Argan and Sharonlee McLean as the sassy and practical servant Toinette in “The Imaginary Invalid.” Photo: Owen Carey/Portland Center Stage.

Words to live by: revisiting MLK Jr.

By Bob Hicks

1964, Library of Congress. New York World-Telegram & Sun Collection.  Dick DeMarsico, World Telegram staff photographerTwo years ago, in this post, we passed along a few quotations from Martin Luther King Jr., whose spirit and birthday we celebrate today. In light of a frayed public discourse that verges on the ridiculous and the obscene, it seems an appropriate time to highlight King’s committed nonviolent approach to doing the right thing. Take a listen:

“Have we not come to such an impasse in the modern world that we must love our enemies – or else? The chain reaction of evil – hate begetting hate, wars producing more wars – must be broken, or else we shall be plunged into the dark abyss of annihilation.”

“Never forget that everything Hitler did in Germany was legal.”

“Nothing in the world is more dangerous than sincere ignorance and conscientious stupidity.”

“One of the greatest casualties of the war in Vietnam is the Great Society, shot down on the battlefield of Vietnam.”

“Peace is not merely a distant goal that we seek, but a means by which we arrive at that goal.”

“Rarely do we find men who willingly engage in hard, solid thinking. There is an almost universal quest for easy answers and half-baked solutions. Nothing pains some people more than having to think.”

“War is a poor chisel to carve out tomorrow.”

“All progress is precarious, and the solution of one problem brings us face to face with another problem.”

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PHOTO: 1964, Library of Congress. New York World-Telegram & Sun Collection. Dick DeMarsico, World Telegram staff photographer. Wikimedia Commons.

Bill Patton, gentleman and scholar: 1927-2011

By Bob Hicks

Sad news today from Ashland: William Patton, the main man behind the scenes at the Oregon Shakespeare Festival from 1953 until his retirement in 1995, has died. Bill was 83 and had been in failing health for some time. A true Southern Oregonian, he was born in Medford and lived in the Rogue Valley most of his life.

Bill Patton in 1989/Oregon Shakespeare FestivalThe mythology of the festival is that actor/director/artistic leader Angus Bowmer was the founding visionary, and he was. It was Bowmer who got things going in 1935, and when I began to go to the festival in the late 1960s and 1970s he was still around, still a quiet eminence, still a prominent spirit around the place.

But Patton, as general manager and later executive director, was already well established as the calm, steady hand who kept things rolling, who bridged the gap between festival and community by being an integral part of both, who paved the way for revolutionary changes by making sure that the present was always on an even keel. (He first showed up at the festival in 1947, and even did some acting in the early years.)

Bill was a gentleman in the truest sense of the word, always honest, always understated, devoted to the festival and its people and the audiences he considered part of the family. He was by nature a conservative man — I am not speaking politically here — who would think and think and think a thing through, and once he’d made up his mind, do what he thought good and necessary. No artistic leader could have asked for a better partner: Without Bill Patton, the Oregon Shakespeare Festival would not be the remarkable institution it is today.

Continue reading Bill Patton, gentleman and scholar: 1927-2011

Budget ax takes forty whacks

By Bob Hicks

All right, times are tough all over. But who’d’a thunk Lizzie Borden would be getting the ax after all these years?

Lizzie Borden, ca. 1889. Wikimedia Commons.This morning’s Art Daily passes along a brief item from the Associated Press reporting that the 40 Whacks Museum in Salem, Massachusetts, is going out of business after two years: high costs, low attendance.

The museum’s existence in Salem, about 70 miles north of Fall River, where Borden was acquitted of hatcheting to death her father and stepmother in 1892, was a bit of a puzzler. But then, Salem, where Mr. Scatter briefly lived almost 40 years ago, bases a good deal of its economy on commemoration and re-creation of its past, from its witch trials to its seafaring days — so why not steal another town’s infamy?

Four or five years ago, on a visit to Massachusetts, Mr. Scatter took the Scatter family to see the house where he’d lived in old town Salem, only to discover it had been torn down to make room for the front lawn of the rebuilt Peabody Essex Museum — a very good regional museum, by the way, run by Dan Monroe, a onetime director of the Portland Art Museum. To assuage their keen disappointment, Mr. Scatter took the family to the New England Pirate Museum, where several T-shirts and a treasure map were bought.

When they saw what they had done, the Scatters cried, “The pirates won!”

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PHOTO: Lizzie Borden, ca. 1889. Wikimedia Commons.

Sneak peek at the new Broad in L.A.

Artist's conception of new Broad Art Foundation in Los Angeles. Diller Scofidio + Renfro

By Bob Hicks

From Art Daily, the first look at designs for the new Broad Art Foundation in Los Angeles. The 120,000-square-foot museum will house the expansive modern collections of philanthropists Eli and Edythe Broad, and in at least one way it aims to be friendly: It’ll be known as “The Broad,” something in the manner of Portland’s Dolores Winningstad Theatre (“The Winnie”) and Arlene Schnitzer Concert Hall (“The Schnitz”). Maybe it doesn’t have a lot of choice: It’s across the street from the supersonic flapping wings of Frank Gehry’s Walt Disney Concert Hall, as well as MOCA, the Museum of Contemporary Art. It’ll build on what’s already a significant cultural district.

Designed by Elizabeth Diller of Diller Scofidio + Renfro (which also handled the makeover of Lincoln Center in New York and created the not-yet-inflated “Bubble” at the Hirschorn in Washington, D.C.), The Broad will be a great big honeycomb with nearly an acre of column-free gallery space. It’s due to open in two years. The era of big-statement architectural designs for new museum buildings came tumbling down with the collapse of the world economy in 2008, but it’s not quite dead yet. It’ll be fascinating to see how the new Broad plays out.

On beyond Twelfth Night: upstaged

"Malvolio and the Countess," 1859. Daniel Maclise (1806-1870), engraved by R. Staines. Wikimedia Commons.

By Bob Hicks

Yes, it’s over. Today is January 6, Epiphany, the day after Twelfth Night, traditional final day of the Christmas season, complete with twelve lords a-leaping and a partridge in a pear tree. Salute them in the rear view mirror, say a fond farewell, and let’s move on.

The diarist Samuel Pepys seemed more than ready to turn his attentions elsewhere on January 6, 1663, when he recorded this among other observations of the day: “So to my brother’s, where Creed and I and my wife dined with Tom, and after dinner to the Duke’s house, and there saw Twelfth Night acted well, though it be but a silly play, and not related at all to the name or day.”

Design by Rachel Ann Lindsay; Typography by Michael Buchino; Art direction by Francesca RestrepoPepys had notoriously little patience for Shakespeare and his fripperies. What might he have thought, then, of Constance Congdon’s adaptation of Moliere’s The Imaginary Invalid, with David Margulies as the hypochondriacal Argan? We haven’t seen it (it opens next Friday, January 14, as Portland’s theater Second Season picks up speed) but the whispers blowing in from backstage are that it’s heavy on the flatulence jokes. Ah, the holy trinity of bodily-function comedy: Beavis and Butthead, South Park, Moliere.

Second Season gets off and running Friday night when Artists Repertory Theatre opens Tracy Letts’s Superior Donuts. The cast includes Bill Geisslinger and Linda K. Alper, a couple of top-rank actors from the Oregon Shakespeare Festival in Ashland, which opens its new season in late February. And the crossovers continue. OSF opens its production of Letts’s biggest hit, August: Osage County, in April. And the festival opens its own version of The Imaginary Invalid — this one adapted by Oded Gross and director Tracy Young, with the excellent David Kelly as Argan — in February.

Continue reading On beyond Twelfth Night: upstaged

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